Introduction[1-3]Japanese Sarasa had its origins in the 16th Century. Old sarasa was made of fine cotton cloth dyed by one of two resist processes: block printing or wax painting. The predominant colors were dark red and indigo with some creamy yellow and purple. Patterns varied widely but as a rule were outlined in black and showed birds, animals, flowers, grasses, human figures, scrolls, arabesques, and the squirrel-and-grape design, the last directly traceable to European influence. Some small dotted designs are thought to have been made especially for the Japanese trade, but this cannot be substantiated.

Much of the sarasa imported during the Momoyama period recall designs which earlier had been imitated in the decoration of leather by the kyokechi dyeing method. They recalled also the flower designs of Fujiwara. With these recollections, Edo dyers now began to revive some of the small-figured designs called komon that had formerly been most frequently used in leather dyeing. This revived the use of rice paste because they believed it to be an effective and durable resist for their silks than the wax used for imported sarasa, which was woven from vegetable fibers.

Originally the term sarasa is derived from the Portuguese word for calico. During the Edo Period, Portuguese traders introduced cotton calicos from India into Japan where these beautiful, exotic fabrics quickly became enormously popular among wealthy samurai and merchant classes. These calicos, with vivid colors and striking abstract geometrics, were very distinctive to the Japanese eye when compared with traditional cotton and hemp indigo fabrics. Indian calicos were expensive and therefore small pieces were used to make valuable and colorful items like bags for tea ceremonies, tobacco cases and pouches. Already skillful at making distinctive textiles, the Japanese easily replicated the hitherto expensive Indian calicos into their own style and production techniques. While maintaining the eye-catching floral and scallop Indian fabric patterns, Japanese textile makers applied their indigenous katazome (rice paste resist dyeing and stencils) textile printing skills to making domestic sarasa, characterized by shades of kakishibu (madder, reds and browns) with distinctive Japanese floral designs and geometric shapes. As domestic sarasa became widely produced, less expensive, and more common than the imported calico, sarasa became a standard for wider use among the Japanese population. Sarasa was also used in ordinary domestic applications like futon covers and wrapping cloths.

In 2019 the Newcastle Printmakers Workshop in Newcastle, NSW, Australia will celebrate 40 years ! 40 current and past NPW printmakers have been selected to celebrate this 40 year milestone anniversary. The launch exhibition will be held at Art Systems Wickham, Newcastle, 8-17 November 2019. Marie-Therese is one of the participating printmakers contributing to this historical event.Click on the logo image to get further updates about the 40/40 exhibition concept, program and events.

Published in Studio La Primitive Arts Zine

Marie-Therese was invited by the editor of Studio La Primitive Arts Zine, Robyn Werkhoven, to be a 'Feature Artist' in the Arts Zine which features articles and interviews with national and international visual artists, poets and writers and glimpses into their world of art and their creative processes. The article, which features Marie-Therese’s art practice and career is titled, ' A Mapping of Anthropogenic Change' has been published in the May 2018 Issue 25 of the Studio La Primitive Arts Zine (the article appears on page 86). Click on the Image to get to the article.

2018 CrossXpollinatioN Exhibition - Journey's

Marie-Therese was a 'Feature Artist' at the '2018 CrossXpollinatioN' exhibition which was themed 'Journey's'. Her ArtCloth Installation 'Timelines: An Environmental Journey' was exhibited at the Colac Otway Performing Arts & Cultural Centre, Colac, Victoria from the 7th - 29th July 2018. The installation featured works employing her signature MultiSperse Dye Sublimation (MSDS) technique on synthetic fibres.Click on the image to see her installation.

About Me

I work full time as a studio artist, researcher, author, curator, speaker and tutor. I am also the Director of Art Quill Studio, The Education Division of Art Quill & Co. Pty. Ltd. at Arcadia Vale, NSW, Australia. I teach as a casual lecturer at The University of Newcastle (Australia) and I am the former co-editor of Textile Fibre Forum art magazine.

Employing my signature techniques I specialize in the area of ArtCloth, artist printmaker books and limited edition prints.

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My Scarves @ The Australian Craft Awards

My unique, hand dyed and printed silk rayon velvet and pashmina scarves are available for purchase. To purchase a scarf please contact - studio@artquill.com.au.Click on the image above to see my velvet ArtCloth scarves.

Welcome to Art Quill Studio

Art Quill Studio is a trademark of Art Quill & Co P/L, which is an Australian Company with no subsidiaries outside of Australia.

This blog will be dedicated to arousing world wide interest in: (a) using the medium of cloth to create a work of art; (b) promoting works on paper; (c) exploring concepts that are the basis of my current artworks; (d) offering opinions on art issues; (e) providing art resources to the public at large.